Suppose in a particular tune C chord is followed by F chord. Then you could play it like this:

However, that’s quite a big jump. As a result, the music sounds disconnected. Another way to play this chord progression:

Now only two tones change — the C remains in the same place — and they jump only a very small distance (a half-step and a whole-step, respectively).

The result is a much smoother sound. This principle is called voice-leading.

The key to voicing-leading is playing inversions. We started with C chord in root position and then played the F chord in first inversion.

We also could have done it like this:

Now C is in first inversion and F is in second inversion. Again, one note remained in the same place and the other two only jumped a small distance.

We always try to keep the tone (or tones) that the two chords have in common in the same place. When C chord is followed by Am, only one tone moves:

However, in the progression F – G, all three tones must change because the F and G chords don’t have any tones in common:

Unless, of course, we make G a four-tone chord, G7:

Note that I played the chord root in the bass this time.

Another four-tone chord example, Dm7 to G7:

Here, two notes remain stationary while the other two move a small distance downward.

That’s really all there is to it. To do proper voice-leading, find the inversion of the next chord that requires the fewest changes.

Common uses for voice-leading: playing accompaniment, playing with string sounds (violins), and playing organ and electronic keyboard — these instruments have no sustain pedal, so voice-leading is needed for smooth changes.